As I saw pasted across an ad for “Evolution,” (was it David Manning’s review?) where it labeled the comedy as a descendent of “Men In Black,” that seems a fair allusion. Their motives are commensurable and both amiable, following a well-paired but unlikely duo to rid of certain extra terrestrial creatures made out of elaborate, expensive computer graphics.

The differences — which there are many — come in the thesis. “Men In Black” was about exterminating one alien in particular, while facing a gaggle of government goofs along the way. While “Evolution” isn’t bashful about its position on the government, too, the idea behind it is stated in the title. Following the landing of an meteor, an alien environment is recreated and while everything appears harmless when Arizona community college scientist (David Duchovny) and U.S. Geological rep/volunteer-cum-volleyball coach (Orlando Jones) first investigate. Soon, however, the life forms begin to adapt, with each generation or life-cycle gaining more stamina and acclimatizing into our stratosphere. Difficulties arise when the government shows up to take over, and their lack of expertise fails to warn them of the disasters impending.

Director Ivan Reitman doesn’t do anything innovative or challenging with the concepts behind the movie, sticking more closely to the formula and ideology of his “Ghostbusters” movies. The biggest difference between that pair and this one, is the visual effects. Sad to say, but the visual effects used in movies like “Ghostbusters” is considered antiquated and passé to the more worldly effects as those designed by computer. But Reitman does keep one of his compulsions, and that’s the proclivity for silly, nasty effects combined with sophomore humor. (For example, when they figure out that a chemical in Head & Shoulders will affect the behemoth cell, during the injection Dan Ackroyd comments, “Looks like they’re getting ready to administer a giant enema!”)

While the newfound easiness for creating the other-worldly visitors has increased broadly, the actual look of the various aliens (there are hardly two alike) are fun and unusual, though the pterodactyl-like creatures were plain and based on a model too common. The other disappointment with the creatures was while they were continually evolving in order to survive, Reitman mocked “2001: A Space Odyssey” with sleek-looking apes. But why not take it one step farther (such as in “Mimic”) and have the aliens evolve into replicas of humans — only with three eyes, as the poster suggests?

The concentrated, but talented cast all work well together. Duchovny, obvious doing at least a little self-parody from his days on “X-Files” makes it fun and palatable even for those non-Xers such as myself. Jones works some of his best comedy yet (along with his 7UP commercials), while offering promise with the right roles. But my favorite in “Evolution” was Julianne Moore, as a clumsy-plus-klutzy scientist. (Despite my disdain for trailers, earlier in the year I saw “Evolution’s.” As it name-by-name announced the actors, and with such a serious tone mentioned, “And Academy Award nominee…Julianne Moore,” right as she tripped and fell, despite it being an obvious gag, it worked perfectly for the effect they wanted.) The comedic result that is garnered because of Moore’s playing against type wins bonus points in overtime. She is definitely one of the best actresses making movies currently, and her light and breezy alternate side is equally as memorable.

David Diamond and David Weissman’s screenplay cover no new ground, but there is no need to, because “Evolution” proves that there’s still plenty of juice left to power the concept. And in this time of cinematic despair, from now on to be proclaimed as Drought 2001, this is something to pleasantly distract the attention summer-movie style.